When iconic drummer Ash Soan moved to the British countryside 17 years ago, he never imagined that a broken-down windmill would become the foundation of a world-class recording operation. Today, from his unique Norfolk studio, Ash delivers drum tracks for world-famous artists and producers, all while serving as the touring drummer for Snow Patrol.

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A Legendary Career Built on Groove

Ash Soan’s journey began in London’s vibrant 90’s music scene, but it was his work with Del Amitri that first put him on the map. From 1994-97, the band supported some of the biggest acts in rock history – The Rolling Stones, REM, Bon Jovi, Van Halen, and Oasis – culminating in performances at Woodstock ’94 and Wembley Stadium.

This early success opened doors to session work with an extraordinary roster of artists. Ash has played with Robbie Williams, Sheryl Crow, Sinead O’Connor, Marianne Faithfull, James Morrison, Seal, and Squeeze, while working alongside legendary producers Trevor Horn, Steve Lipson, and Mark Taylor. His most notable recording credit remains Adele’s “21” album, and he currently serves as touring drummer for Snow Patrol. Ash reflects:

“I was just very fortunate that the music business in the late 90’s and early 2000’s was still in pretty good shape.”

The Windmill Transformation

When Ash became a father 17 years ago, he left London and moved with his family to Norfolk. That decision that opened the door to a revolutionary approach to drum recording. The historic windmill on Ash’s property was “just a lovely old, broken down historic ruin” until a family friend who specialised in green builds suggested a creative solution.

The idea was simple: transform the windmill into a soundproof practice space where Ash could play without “annoying the sheep in the next field.” Using straw bales, lime render, reclaimed wooden boards, and careful insulation, they created what was intended to be just a personal rehearsal room.

But when producer Mark Taylor heard a test recording from the space, everything changed. He immediately recognised the windmill’s potential as a professional recording environment. That’s when Ash’s recording journey began.

Remote Recording Evolution

Ash was one of the first drummers to recognise the potential of remote recording, becoming a specialist in delivering world-class drum tracks from his own studio. He began his technical journey with Pro Tools and four Neve 1073LB preamps in lunchbox format, methodically developing his knowledge and recording techniques over time.

As his expertise grew, so did his collection – adding 88RLB preamps (the same preamps he’d seen in Abbey Road’s 88R console) and the versatile 1073OPX unit to create a comprehensive 14-channel Neve recording chain. Alongside the preamps, Ash built an extensive microphone collection based on what he’d observed in professional studios during his session work, combined with his own experimentation.

Social Media Pioneer

With his recording capabilities evolving, Ash then pioneered multi-microphone drum recording on social media. His Instagram posts showcasing the Windmill Studio attracted hundreds of thousands of followers, who watched as he demonstrated professional recording techniques and shared behind-the-scenes glimpses of his sessions.

This dual approach – leveraging both his established industry reputation and growing social media audience – created something unique in the session world. Ash now receives work from both traditional music industry channels and his engaged online fanbase. Ash explains:

“Now I’m in a space where people come to me and ask me to do remote recordings because of my reputation before and now.”

The COVID pandemic accelerated this trend dramatically, forcing the entire industry to embrace what Ash had been pioneering for years. Remote recording has evolved from alternative approach to standard practice, with artists and producers recognising the quality and convenience it offers when executed at Ash’s professional level.

The Neve Foundation

At the heart of Ash’s windmill setup lies his collection of Neve preamps, which form the backbone of his professional sound. As Ash puts it:

“Every single recording I’ve ever done, some aspect of the drums has gone through a Neve. Neve, to me, is an integral part of my sound.”

The 1073OPX has become particularly valuable in Ash’s setup for its reliability and integration capabilities. “You don’t have to spend five grand on an interface for it to work,” Ash notes, highlighting how the units connect seamlessly with affordable ADAT interfaces while maintaining world-class sound quality. “You just turn it on and it works. And in my world, that really does take the stress out of it.”

The Complete Recording Setup

Ash’s windmill studio centres around two distinct kick drum setups, permanently plumbed in to give him instant access to completely different characters. His main kit features a vintage Sennheiser 421 on a Kelly Shu shock mount for the inside sound, paired with a Solomon LoFreq on the outside – both feeding separate Neve preamps (1073LB and 1073OPX respectively). The secondary kit uses a single Solomon LoFreq through the 1073OPX, providing a significantly different kick sound without any re-miking or overdubs.

For snare, Ash runs a classic combination of Shure SM57 on top through the 1073LB, with an SM58 underneath going to the 1073OPX. He particularly loves driving his Bermuda Sand fifties snare through the 1073LB, creating what he describes as a “hip hop” character when pushed slightly into saturation.

The hi-hat setup showcases Ash’s preference for ribbon microphones, using a Beyerdynamic M160 through the 1073LB. This choice provides the warm, crunchy character he loves while remaining gentle on harsh frequencies that might bleed from the snare.

Overhead duties are handled by legendary Coles 4038 ribbon microphones, positioned with their iconic Star Wars figurines on top (“that’s part of my sound,” Ash jokes). These feed into the 88RLB preamps – the same units Ash has seen in Abbey Road’s consoles. The combination captures the kit’s overall character with that distinctive Coles warmth.

For toms, Ash keeps things straightforward with Sennheiser 604 clip-on microphones on both rack and floor toms, both running through 1073OPX preamps. Despite being “cheap as chips,” these mics have earned his loyalty over the years for their reliable, no-nonsense performance that works perfectly in conjunction with the overhead mics.

The room sound comes from a single Shure microphone positioned controversially close to the wooden ceiling, also feeding the 1073OPX. This placement captures reflections off the wood that add character and dimension to the overall mix – another example of how the windmill’s unique construction contributes to its distinctive sound.

Real-World Results

This isn’t just a hobby setup – Ash’s windmill studio handles serious commercial work. Recent projects include sessions with Dua Lipa and the new Lion King soundtrack with Elton John. As Ash confirms:

“The files are going to world-class producers around the world, and so far there’s been no complaints.”

From an old windmill to a cutting-edge remote recording facility, Ash Soan’s journey represents the evolution of modern music production. With Neve preamps as his recording foundation and decades of experience guiding his choices, he’s created a unique space where tradition meets innovation – proving that world-class remote recording is possible.

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Experience the Windmill Sound for Yourself

Follow Ash Soan’s journey: Connect with @ashsoan on social media to see his latest multi-microphone drum recordings and behind-the-scenes content from the windmill studio

Watch the full studio tour: See Ash demonstrate his complete setup in our exclusive windmill studio video

Bring Neve to your setup: Explore the complete range of Neve outboard preamps, from the versatile 1073OPX to the classic 1073LB and 88RLB units that power Ash’s legendary drum sounds

Join the conversation: Share your own studio setups using #NeveSound

Ready to elevate your sound? Whether you’re building a home studio or upgrading your existing setup, Neve’s professional-grade preamps deliver the legendary sound that icons like Ash Soan rely on. Contact your nearest Neve dealer today to discover how 14 channels of pure Neve magic can transform your recordings.

Legendary songwriter Guy Chambers (Robbie Williams, Kylie Minogue) and his chief engineer Simon Todkill (Post Malone, Holly Humberstone) reveal how the 1073OPX has become the cornerstone of their new studio setup.

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Legendary songwriter Guy Chambers has built a new home studio, Sleeper South, nestled in a quaint national park village in East Sussex.

From this space, Guy is working with chief engineer Simon Todkill on new projects, from original albums to soundtracks.

Their relationship began through Moloko, the studio agents, where Simon was working as an engineer. As Simon explains, their collaborative approach focuses on efficiency and results:

“What I love about working with Guy is that we don’t mess around. We’re here to work, and we work quick and at the end of the day, we leave with something done. I think that’s the powerful thing with music, to not be messing around with ideas but completing them.”

A History with Neve

Guy’s relationship with Neve stretches back to the 1990s, when he was at the height of his career working with Robbie Williams. Back then, Neve VR consoles were his preferred choice. As Guy recalls:

“In the 90s, when I started making records, you’d pick a Neve. It would be Neve VRs back then. So all the Robbie records, pretty much, were recorded on Neves.”

Even when he was offered an EMI console from Abbey Road for his own studio, Sleeper Sounds, Guy maintained his connection to Neve: “I always had Neve outboard. Even when I had the EMI board, I always had the 1081s,” he says.

Simon’s introduction to Neve came through working with the Neve 88R at a large studio in Sydney, Australia. As Simon remembers:

“I always say to people, it was the most flexible console I’ve ever worked on, in that it was really hard to mess up getting sounds. It has headroom for days, and the EQ is incredibly musical.”

The Evolution of Sleeper Sounds Studio

Guy’s original Sleeper Sounds studio in London, established in 2002, houses 25 years’ worth of carefully curated equipment.

As Guy explains: “It’s got an amazing array of gear. And, it sounds really great and people love it. I’m really pleased that it’s used by such an array of different musicians, from Frank Ocean to Jack Antonoff to 1975. You know, it’s an amazing alumni of people who have used it.”

However, success brought its own challenges. As Guy notes: “As its reputation has grown, it’s become increasingly difficult for me to get into my own space because people block book it. I needed somewhere else. And that’s why I’m here.”

Building Sleeper South

The new studio presented unique challenges. Located in a national park, planning restrictions meant the building had to blend in with existing architecture.

As Guy describes: “It’s got a bit of a chapel feel, but I also wanted it to be multi-use, so it’s got a stage. I do little gigs in here with about 20 people in the audience. It’s also a nightclub if you take everything out, which I did the other day for a big party. So it’s got three different uses. A studio, venue and a nightclub.”

The 1073OPX Decision

When it came to choosing the recording chain for Sleeper South, both Guy and Simon knew they needed something reliable and familiar. As Simon explains: “The brief was to keep it simple. We don’t have all the extra instruments filling up a room here. It’s about the space being clean and quick. We wanted to get that top quality front end, and the Neve 1073OPX had just come out and checked every box.”

The two 1073OPX units they chose provide 16 channels of classic 1073 sound, with each 8-channel unit delivering the familiar character they’ve worked with throughout their careers. Simon notes the importance of having reliable equipment:

“Without that high quality front end that’s reliable and familiar, you start to guess the sounds instead of being able to listen to something you know and trust.”

Modern Neve, Classic Sound

What impressed both Guy and Simon most about the 1073OPX was how it delivered the familiar sound they knew. As Simon recalls: “The moment we put them in here and did the test recordings, everything sounded familiar. Immediately, it was like okay, these are doing everything I would expect from a classic 1073 or 1081, but with the clarity of a modern Neve.”

The practical benefits are just as important as the sonic ones. As Simon notes, the 1073OPX offers features that other high-end units don’t:

“Beyond the recall element, which no one else has on a top quality front end unit, it’s the fact that we can then access everything from the front panel.”

The recall functionality means they can set up their preferred settings and return to them instantly, while the front panel gives them immediate access to the full range of inputs and controls without running additional cables around the space.

The Sound of Success

For Guy and Simon, the 1073OPX represents reliability and familiarity in their workflow. As Simon puts it: “They just work. And that’s the highest compliment I can pay to the design. You plug them in and on everything you’re like, that’s great, it works, no question.”

Guy Chambers and Simon Todkill’s journey continues to evolve. With the 1073OPX at the heart of Sleeper South, they’re ready to create the next chapter of their partnership. As Guy concludes: “I’ve made a record here, we’ve done a whole album here, so I’ve been doing that and I plan to do more of that.”

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Experience the 1073OPX for Yourself

• Watch our video with Guy Chambers and Simon Todkill to see the 1073OPX in action at Sleeper South
• Learn more about Guy Chambers’ work and projects at guychambers.co.uk
• Discover Simon Todkill’s engineering expertise and portfolio at simontodkill.com
• Explore the Neve 1073OPX and bring eight channels of legendary sound to your studio
• Join the conversation with #NeveSound and share your own studio setups

Ready to elevate your recording setup? Neve’s professional-grade equipment delivers the sound that legends trust. Contact your nearest Neve dealer today.

Big sound, small footprint — the Neve 1073LB travels with Jack Cochrane from studio to stage.
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For Jack Cochrane, lead singer and songwriter of The Snuts, capturing a song in its rawest form is the very heart of music-making. Whether on tour, in a cabin in the Scottish Highlands, or working from his self-built home studio, Jack is committed to chasing that fleeting spark – the moment when an idea is fresh, unfiltered and full of energy. Supporting that process is a vocal chain he relies on completely: the Shure SM7B microphone, paired with the unmistakable sonic character of the Neve 1073LB.

The Snuts have emerged as one of Scotland’s most exciting modern indie bands. Since their early days gigging in local pubs and bowling clubs, they’ve gone on to chart-topping success, selling out major UK venues, landing a No.1 album in the UK with their 2021 debut W.L., and earning a reputation for their gritty, heartfelt songwriting and stadium-sized hooks. Their music blends anthemic indie rock with sharp lyricism, delivered through Jack’s distinctive vocals – a sound that’s been carefully crafted through both experience and instinct.

Now several albums into their career, Jack has carved out a workflow that allows him to stay close to the source of his creativity. “I’ve built this space at home where I can write and record straight away,” he explains. “I don’t want to be wiring stuff up when I’m feeling something. If I write something I love, I want it to be usable. That’s the whole point. The magic’s not going to hit again in two months. It’s got to happen now.”

At the centre of his setup are two 1073LB preamps, one dedicated to vocals, the other to acoustic guitar. “I’m obsessed with momentum,” Jack says.

“That’s everything. If I have to mess around getting levels or cabling stuff up, I lose the momentum. But if I can hit record and it sounds the way it’s supposed to. That’s how the real stuff gets made.”

Jack’s approach is rooted in his practical, hands-on background. “I was a joiner, the drummer was a mechanic, the bassist was a roofer, and our guitarist was a stonemason,” he recalls. “We worked five days a week and rehearsed seven nights a week.” That tradesman mindset never left – he’s always asking how things work and how to improve his sound using the tools available.

His connection to the 1073 goes back to those early days.

“I remember working with Inflo, he’s a producer I really respect and he brought this 1073 into the studio, just a tabletop unit. He was using it in this really creative way, pushing it hard on guitars and bass, and getting all this saturated tone I’d never heard before. That was the first bit of gear I saw where I thought: that does something I can’t do.”

From that moment, the Neve sound became a core part of his recording philosophy. Whether tracking vocals, acoustic guitars, or vintage instruments, the 1073LB has remained a constant – delivering warmth, clarity and in Jack’s words, “personality.” It’s this quality that’s helped shape not just The Snuts’ sound, but also Jack’s process as a writer and producer.

“My vocal chain hasn’t changed in years,” he says.

“It’s an SM7B straight into the 1073LB. I’ve tried expensive mics, but they don’t suit my voice. This setup just works. I know exactly how it’ll sound; bright but controlled, full of character.”

The same is true for his acoustic guitar recordings, which he describes as one of the most challenging parts of the process. “I’ve been battling acoustics my whole life,” he laughs. “Live, in the studio – I always want it to sound like you’re sitting across from me. With the 1073LB, I just turn it on and play. It gets me where I need to be.” He now pairs it with a Neumann TLM 103 for a simple yet effective acoustic chain. “I don’t want to be running it through everything. I want it to feel natural.”

That instinctive, ready-to-go approach is critical – especially given Jack’s writing style. Whether sketching ideas on the road or recording hotel room demos with full vocals and instrumentation, he needs gear that can move as fast as his ideas. “Every hotel room I go into, the setup comes out: speakers, mics…everything,” he says. “We recorded most of our last record on the road – Japan, Australia, America, all over.”

“The 1073LBs just go in the bag, and I can set up anywhere.”

Even his old, worn-out gear gets a new lease of life thanks to the 1073LB. “I’ve got this horrible ‘60s Japanese bass. Through most stuff, it sounds awful. But through the Neve, it suddenly has all this character. It brings it to the surface.”

Simplicity and sound quality go hand-in-hand and Jack credits early major-label sessions for reinforcing that lesson. “When we got signed, they flew us out to L.A., and it was the first time we’d ever even been in a proper studio. We worked with amazing producers and saw how records get made. We were sponges. But even then, I realised it wasn’t about flashy gear, it was about understanding how to get what you want, fast.”

That mindset continues to shape his independent work. Now releasing music under their own label through The Orchard, The Snuts have complete creative control and Jack has more freedom than ever to work the way he wants. “It’s still the same records, same quality, same success – just more control,” he says. “And a big part of that is having the right tools in my own space.”

That control extends to his writing partnerships too. “My role is the spark, the concept. I want to get the song to a place where other people can then bring what they do. So, I need a vocal chain that works without me spending hours on the laptop. I want people to hear the idea at its best, right from the start.”

For Jack, the 1073LB doesn’t just work – it gets out of the way. “I’m not a gearhead,” he admits. “I just want to write and capture the song.”

“But I’ve never done a vocal take that wasn’t on a 1073. That chain, SM7B into the Neve, it’s on everything.”

He’s also not afraid to push it. “I like being able to drive it, get that transformer saturation. Whether it’s vocals or bass or guitar, I love the colour you get when you push it hard.”

Jack doesn’t talk about the 1073LB in technical terms. For him, it’s all about what the sound represents. “To me, it’s personality,” he says. “That’s what I’m trying to get into the music – where you’re from, what you’re saying, the history behind the song. The 1073 helps that come through. That’s why it’s still in every setup I use.”

Learn more about the 1073LB by visiting the product page here. 

You can follow The Snuts on Instagram here.

Interested in purchasing a 1073LB? Reach out to our team using the Contact Page.

Why Conversion Quality Matters In An Audio Interface

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Audio interfaces have become the backbone of home and mobile recording, but while most engineers focus on preamp specifications, the real game-changer lies in conversion technology.

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Bus-powered interfaces have revolutionised professional recording, enabling artists and engineers to capture sound anywhere: from home studios to concert halls, remote locations to artist bedrooms. High-end devices have now entered this space to provide premium, studio-quality portable sound. Portability has democratised high-end recording, but while most discussions focus on preamp quality, a crucial partner to the preamp is conversion technology. This often-overlooked circuit determines whether your portable setup delivers professional results.

The best preamps in the world cannot rescue poor conversion, yet this critical stage of the signal chain remains misunderstood. When professional engineers choose an interface, they are seeking conversion quality that maintains the sonic integrity inherently present in the analogue domain through to the digital audio workstation.

This is particularly important when using high-fidelity analogue equipment, microphones and preamps, for example. True translation must be afforded by the ADC chips if absolute professionalism is required.

The Foundation of Professional Portable Recording

Analogue-to-digital and digital-to-analogue conversion serves as the crucial gateway between the acoustic world and digital processing. Every signal entering your system passes through an ADC, while everything you monitor flows back through a DAC. This is not merely about capturing levels; it is about preserving the three-dimensional spatial information and harmonic complexity that separates professional and mediocre recordings.

Budget interfaces often compromise on converter chips to meet price points, using basic components that prioritise cost over performance. These may capture signal adequately but reveal their limitations when audio undergoes digital signal processing. As we heard in our recent video with recording engineer Tony Draper, superior conversion means “anything I track through Neve conversion, however you want to process it later, it will take it really well and do it naturally.”

Lesser converters develop a flat, compressed quality under manipulation, losing the spatial depth and harmonic richness that defines professional sound. The difference becomes particularly apparent in complex mixes where multiple elements compete for sonic space.

Engineering Excellence in Portable Form

Modern technologies such as the top-of-the-line ESS Sabre 32 chips that “are not commonly used on a lot of audio interfaces” due to their demanding specifications and higher costs, are premium components to choose when designing an ADC/DAC circuit. These converters deliver over 120dB of dynamic range, ultra-low distortion, and built-in jitter elimination. However, ADC/DAC chips are merely one part of the conversion circuit; the analogue input and output stages to and from these components must also be carefully considered to complement the I/O of the chips and allow for true translation at either side of the conversion equation.

The technical design capabilities honed over decades by our dedicated engineers translate into equipment that professionals describe as exceptional, producing three-dimensional imaging and natural sound character.

Our 88M and 1073SPX-D bring professional conversion technology to home and mobile studios.

Professional Validation

The proof lies in professional adoption. Tony Draper, with over a decade of experience on flagship Neve consoles, is spoilt for choice in his studio when it comes to AD/DA conversion and found the 1073SPX-D‘s conversion performance exceeded all of his high-end alternatives: “I did not expect it to be the very best I have got. Now it is my main mix conversion for hundreds of professional projects annually.”

This performance consistency extends beyond controlled studio environments. For engineers working across multiple facilities, this reliability is essential. As Tony notes: “I took the 88M to the Liverpool Philharmonic and recorded their Steinway Model D with it. The preamps and conversion in tandem give you such a deep soundstage.”

The investment in superior conversion pays dividends throughout the production chain. Whether capturing delicate acoustic performances or processing complex electronic arrangements, exceptional conversion preserves the sonic characteristics that distinguish professional work.

Tony describes the result: “It’s 3D all day long. The depth is absolutely amazing.” This three-dimensional quality allows instruments and voices to occupy distinct spatial positions rather than competing in a flat soundscape.

In an industry where technical standards continue rising, conversion technology represents the foundation upon which everything else builds. While preamps capture the initial sound and processors shape the final result, it is the converters that determine whether the essential musical information survives the journey from microphone to master. That’s why every Neve interface includes conversion technology that delivers the three-dimensional depth and natural character professionals demand.

Learn more about the 88M and 1073SPX-D.

Hear the 88M and SPX-D in action in our video with Tony Draper.

Interested in purchasing? Find your local dealer.

Bringing professional studio sound to home recording has always been challenging, but Neve’s latest compact units are changing the game. Recording engineer Tony Draper demonstrates how the 88M, 88C and 1073SPX-D deliver console-quality results in a domestic setting.

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Recording engineer Tony Draper (Ibibio Sound Machine, Peter Perrett, Emilíana Torrini) recently welcomed Neve into his home studio. With over a decade of professional experience, Tony demonstrated how outboard gear like the 88M, 88C and 1073SPX-D can transform a domestic space into a professional recording environment. From tracking piano to mixing final productions, his workflow reveals how these compact Neve units deliver studio-quality results without the need for a large facility.

Tony’s journey began as a musician, first a pianist, then a guitarist, before discovering his true passion at the intersection of technology and creativity.

“I realised that I don’t really want to be a performer. I was more interested in working on other people’s music from a technological standpoint… I loved that marriage of the technology and music together.”

After formal education and training, Tony spent 11 years at Liverpool’s Parr Street Studios, where he first encountered the Neve VR console. This experience shaped his understanding of what audio equipment could deliver.

“My first real introduction to Neve was working on that console… I got to know the VR very well and how classic it sounded.”

Tony’s experience with Neve consoles expanded when he began working with another studio that installed a Neve 88R. He was present for the installation process, even visiting the Neve factory to meet the team and learn more about what goes into the consoles. As Tony explains, the 88R was a real step up.

“We used to use the VR quite a lot for its preamps, but then the 88R was a massive step up in clarity and bandwidth and all of these sorts of things. It’s just a gorgeous sounding preamp.”

 

From Console to Compact

For Tony, the 88M interface represents a revolutionary development in audio technology – bringing the pristine sound of Neve’s flagship 88R console into an accessible, portable format.

“With the 88M, you can take those same quality preamps that we were all blown away with in the 88R console, the huge format analogue console, and take it home with you or out on the road… and get that same quality of sound, that crucial input stage, in a super affordable little box.”

Tony demonstrates this by recording his Yamaha U1 piano using a pair of Neumann KM184 pencil condensers running through the 88M at 96kHz sample rate.

Throughout the session, Tony emphasises that no amount of post-processing can compensate for a poor initial recording:

“The preamps are really important for that initial capture. If you don’t capture something well in the first place… whatever you do afterwards is not going to help. That initial capture is absolutely crucial.”

This philosophy guides Tony’s approach to recording, making the quality of the 88M’s preamps essential to his workflow.

The Converter Advantage

While many focus exclusively on preamp quality, Tony highlights another critical aspect of the 88M that often goes unnoticed:

“People don’t talk about Neve converters enough. They are incredibly good, really strong, really natural sounding… It’s 3D all day long. The depth is absolutely amazing.”

He explains that quality conversion means the audio can handle subsequent processing without degradation:

“Anything I track through Neve conversion, whatever you want to do to it later—distort it, EQ it, compress it—it’ll take it really well and do it naturally.”

The 1073SPX-D: A Mixing Hub

After recording piano with the 88M, Tony moves to his mixing area where the 1073SPX-D serves as the centrepiece of his setup. It provides not only the classic Neve preamp sound but has become his primary digital converter:

“When the 1073SPX-D arrived and I plugged it in… I didn’t expect it to be the very best I’ve got. Now it is my main mix conversion. Everything I mix in here—hundreds of tracks a year—all of it is monitored through the SPX-D.”

The 1073SPX-D’s digital option also allows Tony to reprocess previously recorded tracks, as he explains:

“If a vocal needs a bit of help, we can flow straight out of the computer into the Neve through its conversion, through its line amp and EQ, do a little shaping through its transformer goodness and then straight back into the computer again.”

Adding Character with the 88C

For the final touches, Tony experiments with the 88C compressor on his piano recording. Like the 88M, the 88C brings the classic compression characteristics of Neve’s large-format consoles into a compact unit.

“I’ve set it quite subtle, only 1.5 to 1 gain reduction, but the threshold is quite low, so it’s grabbing a lot of the signal but just squeezing it very gently… adding density to the sound and really pinning it to the front of the mix.”

Tony concludes by reflecting on what Neve equipment brings to recordings:

“There’s a real lushness to stuff that goes through Neve… It feels big and weighty and clear, which sound like opposites. How can it be weighty and also clear? But it is… It sounds classic. You just know it’s quality when you plug into it.”

From recording the Liverpool Philharmonic’s Steinway grand piano to tracking overdubs in his home studio, Tony Draper demonstrates how Neve’s portable solutions – the 88M, 1073SPX-D, and 88C, bring world-class audio quality to any environment.

With these compact yet powerful units, that signature warmth, clarity, and depth can now be achieved in any space.

Tony’s Key Points:

• The 88M delivers the same preamp quality found in Neve’s high-end 88R console in a portable format
• Neve’s converters provide exceptional depth and clarity that holds up through processing
• The 1073SPX-D serves as both a preamp and high-quality conversion hub for mixing
• The 88C compressor adds density and presence while maintaining a natural sound
• This compact Neve setup enables professional recording quality in any environment

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Experience the Neve Sound for Yourself

• Watch Tony Draper’s full demonstration video to see the equipment in action and learn his recording techniques
• Learn more about Tony’s work and projects at tonydraper.com
• Explore the complete range of Neve’s professional home recording solutions including the 88M, 1073SPX-D, and 88C
• Download the stems from this session here
• Join the conversation on socials with #NeveSound and share your own home studio setups

Ready to elevate your home recording setup? Neve’s professional-grade equipment is now more accessible than ever. Contact your nearest Neve dealer today.

5 Reasons to Upgrade to the Genesys G3D for Dolby Atmos

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Dolby Atmos is changing the way music and sound are made – and the Neve Genesys G3D console upgrade gives Genesys users the tools to mix in full 3D without leaving the desk. In our latest film with composer and mixer Carlos Rodgarman, we talked about why the G3D system is the best way to step into immersive mixing, with no compromise on sound or workflow.

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1. Dolby Atmos Is Here to Stay

With Apple Music, Tidal, Netflix and Amazon all supporting Dolby Atmos, immersive audio has gone mainstream. Whether you’re working on records, soundtracks or sync, Dolby Atmos is quickly becoming a standard delivery format.

“Atmos has opened up a new market for me… It’s changed everything.”

2. Mix Directly from the Console

The Neve Genesys G3D is the world’s first object-based analogue console system. You can control up to 118 objects directly from the Genesys surface, automate via the touchscreen or touch encoders, and mix Dolby Atmos in real time – just like you would with a stereo mix:

“I can do both mixes at the same time… stereo and Atmos. That saves hours,”

3. No More Stems or Print Passes

Traditional hybrid Dolby Atmos workflows often rely on exporting stems, bouncing passes, and revisiting old sessions. With Genesys G3D, you can make changes once and hear them in both stereo and Dolby Atmos mixes simultaneously – saving time and reducing risk of error.

“There are no more missed tweaks or hours spent redoing things. It all just happens together.”

4. Smooth Recall and DAW Integration

The Genesys G3D system is tightly integrated with your DAW. Plugin-based automation lets you draw object movement right into your session, while the console maintains its full analogue character. You can also recall sessions easily using onboard software.

For Carlos, it’s the best of both worlds.

“It’s the speed and flexibility of a DAW, with the tone of an analogue console.”

5. The Legendary Neve Sound

Upgrading to Genesys G3D doesn’t change the heart of what makes a Genesys special. You still get classic Neve preamps, EQ and dynamics – with the added power of object-based mixing, all in one surface.

When asked to describe the sound of the Neve Genesys G3D, Carlos smiled and said,

“The more you add to a mix, the bigger it sounds. That’s the Neve difference.”

Thinking about the upgrade?

As immersive audio continues to grow across music, film and games, the Genesys G3D upgrade is the next logical step for Genesys owners – and for studios looking to stay ahead of the curve. By combining iconic analogue sound with modern Dolby Atmos workflows, the Genesys G3D removes the need for complex rerouting, extra controllers or out-of-the-box compromises. As Carlos highlights in our recent video, it’s now possible to mix stereo and Dolby Atmos together, with full recall, full resolution, and full Neve character. It’s all in the desk – no workarounds needed.

Learn more about the G3D by visiting the product page here. 

You can follow Carlos on Instagram here.

Interested in purchasing the Genesys G3D? Reach out to our team using the Contact Page.

Carlos Rodgarman’s LA studio delivers world-class sound in a compact space. With the Genesys G3D console at the heart of his setup, he delivers high-end stereo and Dolby Atmos mixes without compromise.
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Carlos Rodgarman is a GRAMMY-nominated engineer, Latin GRAMMY-nominated songwriter, and musical director. From his LA-based RG Studios, Carlos produces high-end recordings and Dolby Atmos mixes, with the Genesys G3D at the heart of his setup.

In the early days, Carlos began building his setup piece by piece. But as projects grew and sessions became more complex, the need for a central hub became clear:

“At first, I bought a great-sounding piano. Then I needed better mics. Then mic pres. Then compression… before long, I had this pile of incredible gear, but it was disconnected and slow to manage. That’s when I realised I needed a console.”

That decision led Carlos to the Neve Genesys Black console—giving him world-class analogue sound with DAW integration. As immersive formats like Dolby Atmos became more prominent, Carlos searched for a way to adapt without sacrificing the sonic quality and speed of his current setup. That’s where the G3D upgrade came in. “When I saw the G3D console at NAMM, and that it was an upgrade for my console, it was a no-brainer,” he recalls.

The G3D system allows Carlos to mix both stereo and Atmos at the same time, directly from the console surface. Without the hassle of extra monitor controllers, patching delays and stem printing.

“I’m mixing both stereo and Atmos at the same time. I just stay in the sweet spot, automate whatever I need, and keep going. It saves hours.”

With everything integrated—from object panning to outboard routing—Carlos is free to focus on creativity. Even in a compact space, the results speak for themselves.“I’m now at the point where I track drums in here, and even though it’s a small room, the sound is huge. It sounds like I did it at EastWest.”

Ask Carlos to describe the Neve sound, and he smiles:

“I don’t think you can describe it. You just feel it. It’s the dimension, the size… the more you add to a mix, the bigger it sounds.”

For Carlos, the G3D upgrade has turned his already powerful setup into a future-proof studio that keeps pace with the demands of modern production. Whether he’s tracking live instruments, arranging full orchestras, or mixing in immersive formats, the Genesys G3D gives him the tools and confidence to deliver world-class sound—without compromise. In his own words: “It’s more than gear. It’s the sound I’ve always chased—and now I have it at my fingertips.”

Learn more about the G3D by visiting the product page here. 

You can follow Carlos on Instagram here.

Interested in purchasing a G3D? Reach out to our team using the Contact Page.

1073OPX captures the perfect gig for Ringo & Friends at the Ryman

 

A legendary venue, iconic artists, and one of the industry’s most trusted engineers—Rob Dennis captures a once-in-a-lifetime performance with the power of the 1073OPX.

 

Sitting back and reflecting on Ringo & Friends at the Ryman, there is one phrase that Rob Dennis, owner of Rack-N-Roll Audio, uses to describe the experience: “It was the perfect gig, and I don’t think I’ll ever do another one like it”. For someone of Rob’s experience on the road as a touring engineer, in the studio as a producer and supplying gear as the owner of a rental company, that is a big statement.

Rob has worked on several shows over the years at the Ryman Auditorium in Nashville, Tennessee, and recorded dozens of ‘Live at the Ryman’ records. It is fair to say he knows the room better than most people and understands exactly what it takes to create a live recording in the space that will make people feel like they are in the room for the performance. “I’m blessed to get to work there all the time,” says Rob. “I have to capture the sound of the room and then I have to capture the audience. And I see those as two different things. I have a very involved set up at the Ryman, people hire me to record there because I definitely have a pretty dialed in way to get the sound.”

When he discovered that Ringo Starr was working with T Bone Burnett to put on a show at the Ryman, he was immediately in touch to ensure that he could lend his expertise. Rob reached out to both the Ryman and T Bone Burnett’s team (who he had worked with on many other projects) to make sure that everyone knew he was available and ready to work on the live recording of Ringo & Friends.

One of the factors that made it a perfect gig was the crew-friendly timetable. This included the unusual luxury of the venue being booked for four days. This meant the first day was purely for the load in to make sure all of the vintage equipment was settled and functioning properly. As such, day two was entirely dedicated to rehearsals before the two days of performances. Rob was brought in for live capture of the two performances to create a clean recording that could be used for a CBS broadcast.

With his focus purely on the live capture of the shows, Rob selected the equipment he wanted to use with Neve 1073OPX preamps as one of the core components. Having used the 1073OPX rig on multiple high-profile projects, such as capturing performances from Carrie Underwood, Jellyroll, Keith Richards, Post Malone, Lee Brice, Red Clay Strays and Dusty Slay, it was an easy decision. “We have multiple flight rigs, but with Ringo it was a no brainer, this has to be an Neve,” he smiles.

“What’s more Neve than recording a Beatle and T Bone!”

Creating rigs capable of handling this kind of production is something that comes from Rob’s varied career. “My background is touring, but I’ve been a studio guy for 20 years as well too, so I see the equipment we spec as our mobile recording rig, I’m literally doing the same thing I would in the studio,” he explains. “What I love about the 1073OPX is my ability to do what I call tone shaping. I’m able to saturate the input transformer, drive it a little harder when it is appropriate and then not so much for things that you want to just be beautiful, open and sparkly. It’s fantastic because it has all the controls you need. It has phase invert. It has a high pass filter it has the pad which is super important. But most important to the Neve sound is that transformer on the microphone input, I feel like that’s where the magic is.”

Ringo & Friends at the Ryman is part of a larger project between Ringo Starr and T Bone Burnett that has seen the pair work together on a new album in The Village – Studio Z. This space relies on an Neve G96 (48-channel) Genesys Black console, a solution that benefits from the same preamps as the 1073OPX. This meant that using the OPX rig for the live recording would help to bring the same sound to the broadcast as could be found in the rest of the project.

Rob used eight 1073OPXs to give him 64 channels to capture the band’s microphones at the gain stage. He believes this approach gives him a unique vantage point into how the setup is working and if anything could be improved. “If a monitor engineer or FOH is listening to the soundcheck through their in-ears, they are listening through the console,” he notes. “It has EQ, it has gates, it has compression. So a lot of the time, just being able to listen to the gain, I hear the low-level buzzes and hums that they don’t hear. It means we can have a conversation after the soundcheck and I can help them clean up the mix a little. A lot of the time they love listening in the level of detail I am, but it’s just the mic pre getting the signal, that is all I’m listening to.”

Aside from the quality of the sound, it is the functionality of the 1073OPX that makes it one of the go-to elements of his rig. “It’s all analogue control, you can grab the knob and make the adjustments, but you have an app on your computer so you can store settings,” he explains. “Let’s say I have three acts, a headliner and two openers. I can soundcheck them, save all my settings and literally just hit load when it’s show time, and it populates all my settings from soundcheck. It really allows you to store and save, but you can still grab that big red knob and twist it to make the adjustments you need if say, they start hitting the snare harder when the performance has started.”

The 1073OPX has been a particularly useful tool for Rob. He has enjoyed the combination of analogue and digital with the app and the support he has received from Neve. But perhaps the most important aspect is the sound.

“It’s just kind of the sound of rock’n’roll, it’s the sound of my childhood, you know, the sound of all the records I liked,”

“If there’s obnoxious high frequency stuff, that input transformer just chills it out a little bit. I think it’s how it deals with the top end transients. To my ears, it’s kind of slowing it down a little bit. Sometimes there are mic pres that are extremely fast, and they get all that level transient detail and sometimes that’s not appropriate. And I feel like Neve is fast enough, but it almost slows a transient down slightly in a beautiful way.”

With this project focused on recording for broadcast, reliability was always going to be a key factor. When capturing live performances, the sound is mission critical so Rob has to have full trust in the equipment he uses. Fortunately, the experience he has had with the 1073OPX means he feels completely at ease putting it into action for high profile gigs.

“Reliability is paramount to my remote recording rigs and we have not had one hiccup since owning these OPXs,”

Reflecting on capturing Ringo & Friends, Rob is full of praise for everyone involved. “It was a perfect gig, and it was the only perfect gig I’ve ever done,” he states. “It’s a credit to the whole team involved, everyone was at their very best and they invested in the talent and manpower to put the show on. That was the philosophy, and it worked.”

 

Reflecting on capturing Ringo & Friends, Rob is full of praise for everyone involved. “It was a perfect gig, and it was the only perfect gig I’ve ever done,” he states. “It’s a credit to the whole team involved, everyone was at their very best and they invested in the talent and manpower to put the show on. That was the philosophy, and it worked.”

Learn more about the 1073OPX by visiting the product page here. 

Connect with Rack N Roll Audio on Facebook here.

Interested in purchasing a 1073OPX? Reach out to one of our authorised Neve Dealers here.